Comparison of movie cameras
Encyclopedia
- See list of movie cameras for a comprehensive listing of movie cameras.
The following tables make a comparison of movie cameras that are in common professional usage in recent years. This list is strictly limited to film
Film
A film, also called a movie or motion picture, is a series of still or moving images. It is produced by recording photographic images with cameras, or by creating images using animation techniques or visual effects...
-based cameras, in order to allow direct and equivalent comparisons of specifications.
35 mm
The 35 mm film35 mm film
35 mm film is the film gauge most commonly used for chemical still photography and motion pictures. The name of the gauge refers to the width of the photographic film, which consists of strips 35 millimeters in width...
gauge
Film gauge
Film gauge is a physical property of photographic or motion picture film stock which defines its width. Traditionally the major film gauges in usage are 8 mm, 16 mm, 35 mm, and 65/70 mm...
has long been the most common gauge in professional usage, and thus enjoys the greatest number of cameras currently available for professional usage. The modern era of 35 mm cameras dates to the 1970s, when Arri
Arri
-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...
's Arriflex 35BL and Panavision
Panavision
Panavision is an American motion picture equipment company specializing in cameras and lenses, based in Woodland Hills, California. Formed by Robert Gottschalk as a small partnership to create anamorphic projection lenses during the widescreen boom in the 1950s, Panavision expanded its product...
's original Panaflex models emerged as the first self-blimped, lightweight cameras. Another distinguishing characteristic of modern cameras is the adoption of stronger lens mount
Lens mount
A lens mount is an interface — mechanical and often also electrical — between a photographic camera body and a lens. It is confined to cameras where the body allows interchangeable lenses, most usually the single lens reflex type or any movie camera of 16 mm or higher gauge...
seatings secured with a breech lock - namely the Arri PL
Arri PL
Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter...
and PV mount
PV mount
A PV mount is a lens mount developed by Panavision for use with both 16 mm and 35 mm movie cameras. It is the only mount offered with Panavision cameras and Panavision-designed lenses, and since the company only rents its equipment, this is likely to remain an exclusive arrangement for the time being...
, both of which were designs descended from the BNCR mount
BNCR mount
BNCR is a lens mount developed by Mitchell for use with their REFLEX 35 mm movie cameras. It was an update of the BNC mount done to accommodate the reflex viewer in the later cameras. BNC mount lenses cannot be used in reflex Mitchell cameras as they will hit and damage the reflex viewer, which, in...
of Mitchell cameras.
General
- Camera model - specific camera body models and variants, usually officially authorized
- Camera line - either the body family (similar bodies) or system family (complementary design)
- Manufacturer - company of origin
- Introduced - first year of known usage
- Weight - usually just the body, but may include accessories as mentioned
- MOS/Sync - Sync-sound cameras are able to both maintain a constant speed (usually crystal lockCrystal oscillatorA crystal oscillator is an electronic oscillator circuit that uses the mechanical resonance of a vibrating crystal of piezoelectric material to create an electrical signal with a very precise frequency...
) and run quietly enough not to be heard by the sound recordist. MOSMOS (film)MOS is a standard filmmaking jargon abbreviation, used in production reports to indicate an associated film segment has no synchronous audio track...
cameras do not meet either one or both of these requirements, and are usually used either for applications where camera noise is not a concern, or non-standard camera speeds are required. A camera is also deemed MOS if it can not hold a constant speed, regardless of its noise levels. - Noise level - measured noise made by the camera, usually without film and at a given distance of several feet. MOS cameras do not have a noise level since they are not intended to be used with recorded sound and thus are much louder.
- A limited number of cameras prior to the modern period are listed due to their prevalence in special applications.
Camera model Camera line Manufacturer Introduced Weight MOS/Sync Noise Level Eyemo 71K Eyemo EyemoThe Eyemo is a 35 mm motion-picture film camera which was manufactured by the Bell & Howell Co. of Chicago.-Background:Designed and first manufactured in 1925, it was for many years the most compact 35 mm motion-picture film camera of the hundred foot capacity...Bell and Howell 1925 11 lb (5 kg) MOS N/A Arriflex 35-2C Arriflex 35-II Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...1964 13.5 lb (6.1 kg), with empty magazine MOS N/A Arriflex 35BL-1 Arriflex 35BL Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...1972 28.5 lb (12.9 kg), with empty magazine Sync 26 dB Panaflex-X Panaflex Panavision PanavisionPanavision is an American motion picture equipment company specializing in cameras and lenses, based in Woodland Hills, California. Formed by Robert Gottschalk as a small partnership to create anamorphic projection lenses during the widescreen boom in the 1950s, Panavision expanded its product...1974 20.5 lb (9.3 kg) Sync <24 dB Arriflex 35BL-2 Arriflex 35BL Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...1975 28.5 lb (12.9 kg), with empty magazine Sync 26 dB Panaflex Gold II Panaflex Panavision PanavisionPanavision is an American motion picture equipment company specializing in cameras and lenses, based in Woodland Hills, California. Formed by Robert Gottschalk as a small partnership to create anamorphic projection lenses during the widescreen boom in the 1950s, Panavision expanded its product...1976 24.4 lb (11.1 kg), with short eyepiece Sync <24 dB Arriflex 35BL-3 Arriflex 35BL Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...1980 28.7 lb (13 kg), with empty magazine Sync 22 dB Arriflex 35-3C Arriflex 35-III Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...1982 8.8 lb (4 kg); 13.5 lb (6.1 kg), with empty magazine MOS N/A Moviecam SuperAmerica Moviecam SuperAmerica Moviecam MoviecamMoviecam is a motion picture equipment company specializing in movie camera systems for 35 mm film. Originally started in Vienna as an in-house project of Fritz Gabriel Bauer and Walter Kindler's Moviegroup film production company in the late 1960s, the amount of research and development needed to...1984 29 lb (13.2 kg) Sync 20 dB Arriflex 35BL-4 Arriflex 35BL Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...1986 30.9 lb (14 kg), with empty magazine Sync 22 dB Panaflex Platinum Panaflex Panavision PanavisionPanavision is an American motion picture equipment company specializing in cameras and lenses, based in Woodland Hills, California. Formed by Robert Gottschalk as a small partnership to create anamorphic projection lenses during the widescreen boom in the 1950s, Panavision expanded its product...1986 24 lb (10.9 kg) Sync <22 dB Panaflex Panastar II Panaflex Panastar Panavision PanavisionPanavision is an American motion picture equipment company specializing in cameras and lenses, based in Woodland Hills, California. Formed by Robert Gottschalk as a small partnership to create anamorphic projection lenses during the widescreen boom in the 1950s, Panavision expanded its product...1987 24.4 lb (11.1 kg) MOS N/A Arriflex 35BL-4s Arriflex 35BL Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...1988 31.9 lb (14.5 kg), with empty magazine Sync 20 dB Arriflex 535 Arriflex 535 Arriflex 535The Arriflex 535 is a movie camera product line created by Arri in 1990 to replace the Arriflex BL line. As such, its potential applications are widespread, and thus it is regularly used on music videos, commercials, second unit work on features, special effects work, and motion control, among...Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...1990 21.6 lb (9.8 kg), body only; 29.4 lb (13.3 kg), with finder; 36.4 lb (16.5 kg), with finder and empty magazine Sync 19 dB Moviecam Compact Moviecam Compact Moviecam CompactMoviecam Compact is a movie camera product line created by Moviecam in 1990, developed by Fritz Gabriel Bauer with the improvements after developed Moviecam SuperAmerica. Its potential applications are widespread, and it is regularly used on music videos, for commercials, in second unit work on...Moviecam MoviecamMoviecam is a motion picture equipment company specializing in movie camera systems for 35 mm film. Originally started in Vienna as an in-house project of Fritz Gabriel Bauer and Walter Kindler's Moviegroup film production company in the late 1960s, the amount of research and development needed to...1990 13.6 lb (6.2 kg) Sync <20 dB Arriflex 535B Arriflex 535 Arriflex 535The Arriflex 535 is a movie camera product line created by Arri in 1990 to replace the Arriflex BL line. As such, its potential applications are widespread, and thus it is regularly used on music videos, commercials, second unit work on features, special effects work, and motion control, among...Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...1992 26 lb (11.8 kg), with empty magazine Sync 19 dB Arriflex 435 Arriflex 435 Arriflex 435The Arriflex 435 is a movie camera product line created by Arri in 1995 to replace the Arriflex 35III line. The number reflects its position as a successor camera to the Arri III and the fact that it is designed for 35 mm film. The 435 cameras are specifically designed as MOS cameras, which means...Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...1995 14.3 lb (6.5 kg), without magazine MOS N/A Arriflex 435ES Arriflex 435 Arriflex 435The Arriflex 435 is a movie camera product line created by Arri in 1995 to replace the Arriflex 35III line. The number reflects its position as a successor camera to the Arri III and the fact that it is designed for 35 mm film. The 435 cameras are specifically designed as MOS cameras, which means...Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...1995 14.3 lb (6.5 kg), without magazine MOS N/A Moviecam SL Moviecam SL Moviecam SLMoviecam SL is a movie camera product line created by Moviecam in 1996. It is a lighter version of Moviecam Compact...Moviecam MoviecamMoviecam is a motion picture equipment company specializing in movie camera systems for 35 mm film. Originally started in Vienna as an in-house project of Fritz Gabriel Bauer and Walter Kindler's Moviegroup film production company in the late 1960s, the amount of research and development needed to...1995 8.25 lb (3.7 kg) Sync 25 dB Aaton 35-III Aaton 35 Aaton AatonAaton is a motion picture equipment manufacturer, based in Grenoble, France. Aaton was founded by Eclair engineer Jean-Pierre Beauviala, whose efforts have been primarily focused on making quiet, portable motion picture hardware suitable for impromptu field use, as for documentaries...1997 16 lb (7.3 kg), with full magazine and onboard battery Sync 30 dB (4 perf), 26 dB (3 perf) Panaflex Millennium Panaflex Millennium Panavision PanavisionPanavision is an American motion picture equipment company specializing in cameras and lenses, based in Woodland Hills, California. Formed by Robert Gottschalk as a small partnership to create anamorphic projection lenses during the widescreen boom in the 1950s, Panavision expanded its product...1997 17.5 lb (7.9 kg) Sync <19 dB Panaflex Millennium XL Panaflex Millennium Panavision PanavisionPanavision is an American motion picture equipment company specializing in cameras and lenses, based in Woodland Hills, California. Formed by Robert Gottschalk as a small partnership to create anamorphic projection lenses during the widescreen boom in the 1950s, Panavision expanded its product...1999 11.8 lb (5.4 kg) Sync <23 dB Arricam LT Arricam ArricamArricam is a 35 mm movie camera line manufactured by Arri. It is Arri's flagship sync-sound camera line, replacing the Arriflex 535 line. The design was developed by Fritz Gabriel Bauer and Walter Trauninger, and is heavily derivative of the cameras Bauer created for his Moviecam company, which was...Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...2000 8.7 lb (3.9 kg), body only; 11.56 lb (5.2 kg), with finder Sync <24 dB Arricam ST Arricam ArricamArricam is a 35 mm movie camera line manufactured by Arri. It is Arri's flagship sync-sound camera line, replacing the Arriflex 535 line. The design was developed by Fritz Gabriel Bauer and Walter Trauninger, and is heavily derivative of the cameras Bauer created for his Moviecam company, which was...Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...2000 11.9 lb (5.4 kg), body only; 17.95 lb (8.1 kg), with finder Sync <20 dB Arriflex 435 Advanced Arriflex 435 Arriflex 435The Arriflex 435 is a movie camera product line created by Arri in 1995 to replace the Arriflex 35III line. The number reflects its position as a successor camera to the Arri III and the fact that it is designed for 35 mm film. The 435 cameras are specifically designed as MOS cameras, which means...Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...2001 14.3 lb (6.5 kg), without magazine MOS N/A Aaton 35-3P Aaton 35 Aaton AatonAaton is a motion picture equipment manufacturer, based in Grenoble, France. Aaton was founded by Eclair engineer Jean-Pierre Beauviala, whose efforts have been primarily focused on making quiet, portable motion picture hardware suitable for impromptu field use, as for documentaries...2002 16 lb (7.3 kg), with full magazine and onboard battery Sync 30 dB (4 perf), 24 dB (3 perf) Arriflex 235 Arriflex 235 Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...2004 7.7 lb (3.5 kg), with viewfinder MOS N/A Arriflex 435 Xtreme Arriflex 435 Arriflex 435The Arriflex 435 is a movie camera product line created by Arri in 1995 to replace the Arriflex 35III line. The number reflects its position as a successor camera to the Arri III and the fact that it is designed for 35 mm film. The 435 cameras are specifically designed as MOS cameras, which means...Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...2004 14.3 lb (6.5 kg), without magazine MOS N/A Aaton Penelope Aaton Penelope Aaton PenelopeAaton Penelope is a 35mm motion picture camera introduced by Aaton in October 2008. It's the first camera in the world designed as a switchable Techniscope or 3-perf shooting solution , and it's also the first 35mm camera to offer a progressive scan video-tap....Aaton AatonAaton is a motion picture equipment manufacturer, based in Grenoble, France. Aaton was founded by Eclair engineer Jean-Pierre Beauviala, whose efforts have been primarily focused on making quiet, portable motion picture hardware suitable for impromptu field use, as for documentaries...2008 17 lb (7.7 kg), with full magazine and onboard battery Sync 23 dB (3 perf), 22 dB (2 perf)
Lens and gate aperture
- Lens mount - the type of mountLens mountA lens mount is an interface — mechanical and often also electrical — between a photographic camera body and a lens. It is confined to cameras where the body allows interchangeable lenses, most usually the single lens reflex type or any movie camera of 16 mm or higher gauge...
required for using the camera. Certain lenses may not be able to be used with particular cameras if the mounts are incompatible. - Super 35? - is the mount capable of quickly being converted to Super 35 centering? This is a horizontal shift from AcademyAcademy ratioThe Academy ratio of 1.375:1 is an aspect ratio of a frame of 35mm film when used with 4-perf pulldown. It was standardized by the Academy of Motion Picture Arts and Sciences as the standard film aspect ratio in 1932, although similar-sized ratios were used as early as 1928.The Academy ratio is...
centering. Cameras not designed for this may need to otherwise disassemble the entire hard front to re-align. - Aperture size - the size of the aperture of the gate.
- Aperture plate - is the gate removable for inspection and what accessories may it have?
- Lens interface - electronic information system located in the lens mount to communicate lens data to the camera and accessories.
- Ground glass - interchangeable ground glassGround glassGround glass is glass whose surface has been ground to produce a flat but rough finish.Ground glass surfaces have many applications, ranging from mere ornamentation on windows and table glassware to scientific uses in optics and laboratory glassware....
es allow for the viewfinder to display whichever aspect ratioAspect ratio (image)The aspect ratio of an image is the ratio of the width of the image to its height, expressed as two numbers separated by a colon. That is, for an x:y aspect ratio, no matter how big or small the image is, if the width is divided into x units of equal length and the height is measured using this...
is being framed for. - Frameline glow - can the camera make the framelines glow for easier viewing in low-light conditions?
| Camera model | Lens mount | Super 35? | Aperture size | Aperture plate | Lens interface | Ground glass | Frameline glow? |
|---|---|---|---|---|---|---|---|
| Eyemo 71K | Eyemo mount, many conversions | No, but conversions exist | Full frame Full frame In cinematography, full frame refers to the use of the full film gate at maximum width and height for 35 mm film cameras. It is sometimes also referred to as silent aperture, full gate, or a number of other similar word combinations. It is the original gate size pioneered by William Dickson and... |
fixed | none | interchangeable | No |
| Arriflex 35-2C | Arri standard Arri standard Arri standard is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. Lenses are distinguished by a tab inside an outer ring. Because of the weak seating strength and ability of the aluminum mount to gradually become poorly seated, the stainless steel Arri bayonet mount... and Arri bayonet Arri bayonet Arri bayonet is a lens mount developed by Arri for use with both 16 mm and 35 mm movie camera lenses. Lenses of this type are distinguished by "outer wings" which both control aperture and bayonet alignment, and are placed in the mount while two pressure tabs are simultaneously depressed at the... |
No, but conversions exist | Academy ratio Academy ratio The Academy ratio of 1.375:1 is an aspect ratio of a frame of 35mm film when used with 4-perf pulldown. It was standardized by the Academy of Motion Picture Arts and Sciences as the standard film aspect ratio in 1932, although similar-sized ratios were used as early as 1928.The Academy ratio is... |
fixed | none | interchangeable | No |
| Arriflex 35BL-1 | Arri bayonet Arri bayonet Arri bayonet is a lens mount developed by Arri for use with both 16 mm and 35 mm movie camera lenses. Lenses of this type are distinguished by "outer wings" which both control aperture and bayonet alignment, and are placed in the mount while two pressure tabs are simultaneously depressed at the... |
No | Academy ratio Academy ratio The Academy ratio of 1.375:1 is an aspect ratio of a frame of 35mm film when used with 4-perf pulldown. It was standardized by the Academy of Motion Picture Arts and Sciences as the standard film aspect ratio in 1932, although similar-sized ratios were used as early as 1928.The Academy ratio is... , custom sizes exist |
removable | none | interchangeable | No |
| Panaflex-X | PV mount PV mount A PV mount is a lens mount developed by Panavision for use with both 16 mm and 35 mm movie cameras. It is the only mount offered with Panavision cameras and Panavision-designed lenses, and since the company only rents its equipment, this is likely to remain an exclusive arrangement for the time being... ; |
Yes | Full frame Full frame In cinematography, full frame refers to the use of the full film gate at maximum width and height for 35 mm film cameras. It is sometimes also referred to as silent aperture, full gate, or a number of other similar word combinations. It is the original gate size pioneered by William Dickson and... |
removable; interchangeable format masks | none | interchangeable | Yes |
| Arriflex 35BL-2 | Arri bayonet Arri bayonet Arri bayonet is a lens mount developed by Arri for use with both 16 mm and 35 mm movie camera lenses. Lenses of this type are distinguished by "outer wings" which both control aperture and bayonet alignment, and are placed in the mount while two pressure tabs are simultaneously depressed at the... |
No | Academy ratio Academy ratio The Academy ratio of 1.375:1 is an aspect ratio of a frame of 35mm film when used with 4-perf pulldown. It was standardized by the Academy of Motion Picture Arts and Sciences as the standard film aspect ratio in 1932, although similar-sized ratios were used as early as 1928.The Academy ratio is... , custom sizes exist |
removable | none | interchangeable | No |
| Panaflex Gold II | PV mount PV mount A PV mount is a lens mount developed by Panavision for use with both 16 mm and 35 mm movie cameras. It is the only mount offered with Panavision cameras and Panavision-designed lenses, and since the company only rents its equipment, this is likely to remain an exclusive arrangement for the time being... |
Yes | Full frame Full frame In cinematography, full frame refers to the use of the full film gate at maximum width and height for 35 mm film cameras. It is sometimes also referred to as silent aperture, full gate, or a number of other similar word combinations. It is the original gate size pioneered by William Dickson and... |
removable; interchangeable format masks | none | interchangeable | Yes |
| Arriflex 35BL-3 | Arri PL Arri PL Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter... or BNCR mount BNCR mount BNCR is a lens mount developed by Mitchell for use with their REFLEX 35 mm movie cameras. It was an update of the BNC mount done to accommodate the reflex viewer in the later cameras. BNC mount lenses cannot be used in reflex Mitchell cameras as they will hit and damage the reflex viewer, which, in... |
No | Academy ratio Academy ratio The Academy ratio of 1.375:1 is an aspect ratio of a frame of 35mm film when used with 4-perf pulldown. It was standardized by the Academy of Motion Picture Arts and Sciences as the standard film aspect ratio in 1932, although similar-sized ratios were used as early as 1928.The Academy ratio is... , custom sizes exist |
removable | none, but Lens Data Archive (LDA) can be used | interchangeable | No |
| Arriflex 35-3C | Arri PL Arri PL Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter... |
No | Academy ratio Academy ratio The Academy ratio of 1.375:1 is an aspect ratio of a frame of 35mm film when used with 4-perf pulldown. It was standardized by the Academy of Motion Picture Arts and Sciences as the standard film aspect ratio in 1932, although similar-sized ratios were used as early as 1928.The Academy ratio is... |
removable | none, but Lens Data Archive (LDA) can be used | interchangeable | No |
| Moviecam SuperAmerica | Arri PL Arri PL Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter... and BNCR mount BNCR mount BNCR is a lens mount developed by Mitchell for use with their REFLEX 35 mm movie cameras. It was an update of the BNC mount done to accommodate the reflex viewer in the later cameras. BNC mount lenses cannot be used in reflex Mitchell cameras as they will hit and damage the reflex viewer, which, in... |
Yes | full range available | removable | none, but Lens Data Archive (LDA) can be used | interchangeable | Yes |
| Arriflex 35BL-4 | Arri PL Arri PL Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter... |
Yes | Academy ratio Academy ratio The Academy ratio of 1.375:1 is an aspect ratio of a frame of 35mm film when used with 4-perf pulldown. It was standardized by the Academy of Motion Picture Arts and Sciences as the standard film aspect ratio in 1932, although similar-sized ratios were used as early as 1928.The Academy ratio is... , custom sizes exist |
removable | none, but Lens Data Archive (LDA) can be used | interchangeable | Yes |
| Panaflex Platinum | PV mount PV mount A PV mount is a lens mount developed by Panavision for use with both 16 mm and 35 mm movie cameras. It is the only mount offered with Panavision cameras and Panavision-designed lenses, and since the company only rents its equipment, this is likely to remain an exclusive arrangement for the time being... |
Yes | Full frame Full frame In cinematography, full frame refers to the use of the full film gate at maximum width and height for 35 mm film cameras. It is sometimes also referred to as silent aperture, full gate, or a number of other similar word combinations. It is the original gate size pioneered by William Dickson and... |
removable; interchangeable format masks | none | interchangeable | Yes |
| Panaflex Panastar II | PV mount PV mount A PV mount is a lens mount developed by Panavision for use with both 16 mm and 35 mm movie cameras. It is the only mount offered with Panavision cameras and Panavision-designed lenses, and since the company only rents its equipment, this is likely to remain an exclusive arrangement for the time being... |
Yes | Full frame Full frame In cinematography, full frame refers to the use of the full film gate at maximum width and height for 35 mm film cameras. It is sometimes also referred to as silent aperture, full gate, or a number of other similar word combinations. It is the original gate size pioneered by William Dickson and... |
removable; interchangeable format masks | none | interchangeable | Yes |
| Arriflex 35BL-4s | Arri PL Arri PL Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter... |
Yes | Academy ratio Academy ratio The Academy ratio of 1.375:1 is an aspect ratio of a frame of 35mm film when used with 4-perf pulldown. It was standardized by the Academy of Motion Picture Arts and Sciences as the standard film aspect ratio in 1932, although similar-sized ratios were used as early as 1928.The Academy ratio is... , custom sizes exist |
removable | none, but Lens Data Archive (LDA) can be used | interchangeable | Yes |
| Arriflex 535 | Arri PL Arri PL Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter... |
Yes | full range available | removable; interchangeable format masks and filter holders | none, but Lens Data Archive (LDA) can be used | interchangeable | Yes |
| Moviecam Compact | Arri PL Arri PL Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter... and BNCR mount BNCR mount BNCR is a lens mount developed by Mitchell for use with their REFLEX 35 mm movie cameras. It was an update of the BNC mount done to accommodate the reflex viewer in the later cameras. BNC mount lenses cannot be used in reflex Mitchell cameras as they will hit and damage the reflex viewer, which, in... |
Yes | full range available | removable | none, but Lens Data Archive (LDA) can be used | interchangeable | Yes |
| Arriflex 535B | Arri PL Arri PL Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter... |
Yes | full range available | removable; interchangeable format masks and filter holders | none, but Lens Data Archive (LDA) can be used | interchangeable | Yes |
| Arriflex 435 | Arri PL Arri PL Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter... , PV mount PV mount A PV mount is a lens mount developed by Panavision for use with both 16 mm and 35 mm movie cameras. It is the only mount offered with Panavision cameras and Panavision-designed lenses, and since the company only rents its equipment, this is likely to remain an exclusive arrangement for the time being... |
Yes | full range available | removable; interchangeable format masks and filter holders | none, but Lens Data Archive (LDA) can be used | interchangeable | Yes |
| Arriflex 435ES | Arri PL Arri PL Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter... , PV mount PV mount A PV mount is a lens mount developed by Panavision for use with both 16 mm and 35 mm movie cameras. It is the only mount offered with Panavision cameras and Panavision-designed lenses, and since the company only rents its equipment, this is likely to remain an exclusive arrangement for the time being... |
Yes | full range available | removable; interchangeable format masks and filter holders | none, but Lens Data Archive (LDA) can be used | interchangeable | Yes |
| Moviecam SL | Arri PL Arri PL Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter... |
Yes | full range available | removable | none, but Lens Data Archive (LDA) can be used | interchangeable | Yes |
| Aaton 35-III | Arri PL Arri PL Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter... , PV mount PV mount A PV mount is a lens mount developed by Panavision for use with both 16 mm and 35 mm movie cameras. It is the only mount offered with Panavision cameras and Panavision-designed lenses, and since the company only rents its equipment, this is likely to remain an exclusive arrangement for the time being... , or Nikon Nikon F-mount The Nikon F-mount is a type of interchangeable lens mount developed by Nikon for its 35 mm SLR cameras. The F-mount was first introduced on the Nikon F camera in 1959, and features a three lug bayonet mount with a 44 mm throat and a flange to focal plane distance of 46.5 mm... |
Yes | full frame Full frame In cinematography, full frame refers to the use of the full film gate at maximum width and height for 35 mm film cameras. It is sometimes also referred to as silent aperture, full gate, or a number of other similar word combinations. It is the original gate size pioneered by William Dickson and... |
fixed | none, but Lens Data Archive (LDA) can be used | interchangeable | Yes |
| Panaflex Millennium | PV mount PV mount A PV mount is a lens mount developed by Panavision for use with both 16 mm and 35 mm movie cameras. It is the only mount offered with Panavision cameras and Panavision-designed lenses, and since the company only rents its equipment, this is likely to remain an exclusive arrangement for the time being... |
Yes | full frame Full frame In cinematography, full frame refers to the use of the full film gate at maximum width and height for 35 mm film cameras. It is sometimes also referred to as silent aperture, full gate, or a number of other similar word combinations. It is the original gate size pioneered by William Dickson and... |
removable; interchangeable format masks | none | interchangeable | Yes |
| Panaflex Millennium XL | PV mount PV mount A PV mount is a lens mount developed by Panavision for use with both 16 mm and 35 mm movie cameras. It is the only mount offered with Panavision cameras and Panavision-designed lenses, and since the company only rents its equipment, this is likely to remain an exclusive arrangement for the time being... |
Yes | full frame Full frame In cinematography, full frame refers to the use of the full film gate at maximum width and height for 35 mm film cameras. It is sometimes also referred to as silent aperture, full gate, or a number of other similar word combinations. It is the original gate size pioneered by William Dickson and... |
removable; interchangeable format masks | none | interchangeable | Yes |
| Arricam LT | Arri PL Arri PL Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter... |
Yes | full frame Full frame In cinematography, full frame refers to the use of the full film gate at maximum width and height for 35 mm film cameras. It is sometimes also referred to as silent aperture, full gate, or a number of other similar word combinations. It is the original gate size pioneered by William Dickson and... |
removable; interchangeable format masks and filter holders | Lens Data System (LDS) contacts; integrated Lens Data Box (LDB) | interchangeable | Yes |
| Arricam ST | Arri PL Arri PL Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter... |
Yes | full frame Full frame In cinematography, full frame refers to the use of the full film gate at maximum width and height for 35 mm film cameras. It is sometimes also referred to as silent aperture, full gate, or a number of other similar word combinations. It is the original gate size pioneered by William Dickson and... |
removable; interchangeable format masks and filter holders | Lens Data System (LDS) contacts; integrated Lens Data Box (LDB) | interchangeable | Yes |
| Arriflex 435 Advanced | Arri PL Arri PL Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter... , PV mount PV mount A PV mount is a lens mount developed by Panavision for use with both 16 mm and 35 mm movie cameras. It is the only mount offered with Panavision cameras and Panavision-designed lenses, and since the company only rents its equipment, this is likely to remain an exclusive arrangement for the time being... |
Yes | full frame Full frame In cinematography, full frame refers to the use of the full film gate at maximum width and height for 35 mm film cameras. It is sometimes also referred to as silent aperture, full gate, or a number of other similar word combinations. It is the original gate size pioneered by William Dickson and... |
removable; interchangeable format masks and filter holders | Lens Data System (LDS) contacts; usable with FEM-2 unit | interchangeable | Yes |
| Aaton 35-3P | Arri PL Arri PL Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter... , PV mount PV mount A PV mount is a lens mount developed by Panavision for use with both 16 mm and 35 mm movie cameras. It is the only mount offered with Panavision cameras and Panavision-designed lenses, and since the company only rents its equipment, this is likely to remain an exclusive arrangement for the time being... , or Nikon Nikon F-mount The Nikon F-mount is a type of interchangeable lens mount developed by Nikon for its 35 mm SLR cameras. The F-mount was first introduced on the Nikon F camera in 1959, and features a three lug bayonet mount with a 44 mm throat and a flange to focal plane distance of 46.5 mm... |
Yes | full frame Full frame In cinematography, full frame refers to the use of the full film gate at maximum width and height for 35 mm film cameras. It is sometimes also referred to as silent aperture, full gate, or a number of other similar word combinations. It is the original gate size pioneered by William Dickson and... |
fixed | none, but Lens Data Archive (LDA) can be used | interchangeable | Yes |
| Arriflex 235 | Arri PL Arri PL Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter... |
Yes | full frame Full frame In cinematography, full frame refers to the use of the full film gate at maximum width and height for 35 mm film cameras. It is sometimes also referred to as silent aperture, full gate, or a number of other similar word combinations. It is the original gate size pioneered by William Dickson and... |
removable | none, but Lens Data Archive (LDA) can be used | interchangeable | Yes |
| Arriflex 435 Xtreme | Arri PL Arri PL Arri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter... , PV mount PV mount A PV mount is a lens mount developed by Panavision for use with both 16 mm and 35 mm movie cameras. It is the only mount offered with Panavision cameras and Panavision-designed lenses, and since the company only rents its equipment, this is likely to remain an exclusive arrangement for the time being... |
Yes | full range available | removable; interchangeable format masks and filter holders | Lens Data System (LDS) contacts and integrated electronics | interchangeable | Yes |
Shutter
- Reflex - is the shutter a reflex mirror design?
- Design - rotary disc shutterRotary disc shutterA rotary disc shutter is a type of shutter. It is notably used in motion picture cameras.Rotary discs are semicircular mirrors which rotate in front of the film gate, and thus expose the film. As the mirror spins it reflects the image onto the ground glass so that it can be viewed by the camera...
s have two common designs - a "half-moon" disc of 180° or "butterfly" of two 90° segments opposite each other which spins at half-speed. - Location - where the shutter is centered
- Adjustment - how the shutter angle can be adjusted. Most manual designs can only be adjusted when the camera isn't running, often with the lens removed. All electronic shutters allow adjustment at all times, including when the camera is running.
- Angles - shutter angles available and in what increments or stops, if not continuous
| Camera model | Reflex? | Design | Location | Adjustment | Angles |
|---|---|---|---|---|---|
| Eyemo 71K | No, but many conversions | Half-moon | Beside gate | fixed | 160°; many conversions for different angles |
| Arriflex 35-2C | Yes | Butterfly | Underneath gate | fixed | 180°, although the V/B variant is adjustable from 0° to 165° |
| Arriflex 35BL-1 | Yes | Butterfly | Underneath gate | fixed | 180° |
| Panaflex-X | Yes | Butterfly | Beside gate | manually while running or in standby | between 50° and 200°, continuously adjustable |
| Arriflex 35BL-2 | Yes | Butterfly | Underneath gate | fixed | 180° |
| Panaflex Gold II | Yes | Butterfly | Beside gate | manually while running or in standby | between 50° and 200°, continuously adjustable |
| Arriflex 35BL-3 | Yes | Half-moon | Underneath gate | manual | stops at 144°, 172.8°, and 180° |
| Arriflex 35-3C | Yes | Butterfly | Underneath gate | manual | 0° to 165° with stops every 15° |
| Moviecam SuperAmerica | Yes | Half-moon | Underneath gate | manual | stops at 45°, 90°, 120°, 144°, 172.8°, and 180°. |
| Arriflex 35BL-4 | Yes | Half-moon | Underneath gate | manual | stops at 144°, 172.8°, and 180° |
| Panaflex Platinum | Yes | Butterfly | Beside gate | electronic or manually while running or in standby | between 50° and 200°, in 0.1° stops |
| Panaflex Panastar II | Yes | Butterfly | Beside gate | electronic or manually while running or in standby | between 45° and 180°, in 0.1° stops |
| Arriflex 35BL-4s | Yes | Half-moon | Underneath gate | manual | stops at 144°, 172.8°, and 180° |
| Arriflex 535 | Yes | Half-moon | Underneath gate | electronic | between 11° to 180°, in 0.01° stops |
| Moviecam Compact | Yes | Half-moon | Underneath gate | manual | stops at 45°, 90°, 120°, 144°, 172.8°, and 180°. 22.5° available on newer models. |
| Arriflex 535B | Yes | Half-moon | Underneath gate | manual | stops every 15° between 15° and 180°, also stops at 144° and 172.8° |
| Arriflex 435 | Yes | Half-moon | Underneath gate | manual | stops every 15° between 30° and 135°, also stops at 11.2°, 22.5°, 144°, 172.8°, and 180° |
| Arriflex 435ES | Yes | Half-moon | Underneath gate | electronic | between 11.2° to 180°, in 0.1° stops |
| Moviecam SL | Yes | Half-moon | Underneath gate | manual | stops at 22.5°, 45°, 90°, 120°, 144°, 172.8°, and 180°. |
| Aaton 35-III | Yes | Half-moon | Underneath gate | manual | stops at 144°, 150°, 172.8°, and 180° |
| Panaflex Millennium | Yes | Butterfly | Beside gate | electronic or manually while running or in standby | between 11.2° and 180°, in 0.1° stops |
| Panaflex Millennium XL | Yes | Butterfly | Beside gate | electronic or manually while running or in standby | between 11.2° and 180°, in 0.1° stops |
| Arricam LT | Yes | Half-moon | Underneath gate | electronic | between 0° and 180°, in 0.1° stops |
| Arricam ST | Yes | Half-moon | Underneath gate | electronic | between 0° and 180°, in 0.1° stops |
| Arriflex 435 Advanced | Yes | Half-moon | Underneath gate | electronic | between 11.2° and 180°, in 0.1° stops |
| Aaton 35-3P | Yes | Half-moon | Underneath gate | manual | stops at 144°, 150°, 172.8°, and 180° |
| Arriflex 235 | Yes | Half-moon | Underneath gate | manual | stops every 15° between 45° and 150°, also stops at 144°, 172.8°, and 180° |
| Arriflex 435 Xtreme | Yes | Half-moon | Underneath gate | electronic | between 11.2° and 180°, in 0.1° stops |
Movement
- Movement type - design of the movement mechanism
- Pulldown claws - number of claws which engage the film perforationsFilm perforationsFilm perforations, also known as perfs, are the holes placed in the film stock during manufacturing and used for transporting and steadying the film. Films may have different types of perforations depending on film gauge, film format, and the intended usage...
to transport the film while the shutter is closed. Some claws may have more than one pin in order to engage multiple perfs at a time. - Registration pins - number of pins which engage the film perforations during exposure in order to ensure consistent image stability from frame to frame.
- Frame rate (forward) - range of speeds in frame/s (frames per second) and smallest increments of change allowed. Accessories noted where required for certain speeds.
- Frame rate (reverse) - range of speeds in frame/s (frames per second) and smallest increments of change allowed. Accessories noted where required for certain speeds.
- Motor - type of motor, voltage, crystal-controlled speeds (XtalCrystal oscillatorA crystal oscillator is an electronic oscillator circuit that uses the mechanical resonance of a vibrating crystal of piezoelectric material to create an electrical signal with a very precise frequency...
) - Pulldown - negative pulldownNegative pulldownNegative pulldown is the manner in which an image is exposed on a film stock, described in the number of film perforations spanned by an individual frame. It can also describe the orientation of the image on the negative, whether it is captured horizontally or vertically...
options available - Pitch control? - does the camera allow for adjustment of the pulldown claw to optimize camera noise and avoid perforation damage?
| Camera model | Movement type | Pulldown claws | Registration pins | Frame rate (forward) | Frame rate (reverse) | Motor | Pulldown | Pitch control? |
|---|---|---|---|---|---|---|---|---|
| Eyemo 71K | clockwork mechanism | 1 | 0 | 4-50 frame/s | No | spring-wound, several motors available | 4 perf | No |
| Arriflex 35-2C | cam-driven | 1 | 0 | depends on motor; speeds ranging from 5-80 frame/s available | No | several available, including 32V DC handgrip, 16V DC governor, 24-28V DC and 16V DC variables. | 4 perf | No |
| Arriflex 35BL-1 | cam-driven | 4 | 2 | 5-100 frame/s | No | 12V DC, Xtal at 24, 25, and 30 frame/s | 4 perf | No |
| Panaflex-X | Mitchell Mitchell Camera Mitchell Camera Corporation was founded in 1919 by Henry Boger and George Alfred Mitchell. Their first camera was designed and patented by John E. Leonard in 1917, from 1920 on known as the Mitchell Standard... -design, cam driven |
2 | 2 | 4-34 frame/s | No | 24V DC brushed, Xtal at 24, 25, and 29.97 frame/s | 4 and 3 perf | Yes |
| Arriflex 35BL-2 | cam-driven | 2 | 2 | 5-50 frame/s | No | 12V DC, Xtal at 24, 25, and 30 frame/s | 4 perf | No |
| Panaflex Gold II | Mitchell Mitchell Camera Mitchell Camera Corporation was founded in 1919 by Henry Boger and George Alfred Mitchell. Their first camera was designed and patented by John E. Leonard in 1917, from 1920 on known as the Mitchell Standard... -design, cam driven |
2 | 2 | 4-34 frame/s | No | 24V DC brushed, Xtal at 24, 25, and 29.97 frame/s | 4 and 3 perf | Yes |
| Arriflex 35BL-3 | cam-driven | 2 | 2 | 5-50 frame/s | No | 12V DC, Xtal at 24, 25, and 30 frame/s | 4 perf | No |
| Arriflex 35-3C | cam-driven | 1 (dual-pin) | 1 | 4-100 frame/s; some models can reach 130 frame/s | 4-100 frame/s; some models can reach 130 frame/s | 12/24V DC, Xtal at 24, 25, and 30 frame/s | 4 and 3 perf | No |
| Moviecam SuperAmerica | compensating link movement | 2 | 2 | 12-32 frame/s in 1 frame/s increments; 1-50 frame/s in 0.001 frame/s increments with speedbox | 12-32 frame/s in 0.001 frame/s increments with speedbox | 24V DC microprocessor-controlled, Xtal at all speeds | 4 perf | Yes |
| Arriflex 35BL-4 | cam-driven | 2 | 2 | 5-40 frame/s | No | 12V DC, Xtal at 24, 25, and 30 frame/s | 4 perf | No |
| Panaflex Platinum | Mitchell Mitchell Camera Mitchell Camera Corporation was founded in 1919 by Henry Boger and George Alfred Mitchell. Their first camera was designed and patented by John E. Leonard in 1917, from 1920 on known as the Mitchell Standard... -design, cam driven |
2 | 2 | 4-36 frame/s in 0.1 frame/s increments | 4-36 frame/s in 0.1 frame/s increments | 24V DC brushed, Xtal at all speeds | 4 and 3 perf | Yes |
| Panaflex Panastar II | Mitchell Mitchell Camera Mitchell Camera Corporation was founded in 1919 by Henry Boger and George Alfred Mitchell. Their first camera was designed and patented by John E. Leonard in 1917, from 1920 on known as the Mitchell Standard... -design, cam driven |
4 | 2 | 4-120 frame/s in 1 frame/s increments | 4-120 frame/s in 1 frame/s increments | 24V DC brushed, Xtal at all speeds | 4 and 3 perf | Yes |
| Arriflex 35BL-4s | seven-link movement | 2 | 2 | 5-40 frame/s | No | 12V DC, Xtal at 24, 25, and 30 frame/s | 4 and 3 perf | Yes |
| Arriflex 535 | seven-link movement | 2 | 2 | 3-50 frame/s in 0.001 frame/s increments; 1 frame/s if phase button held | 3-50 frame/s in 0.001 frame/s increments | 24V DC microprocessor-controlled, Xtal at 1, 24, 25, 29.97, and 30 frame/s forwards | 4 and 3 perf | Yes |
| Moviecam Compact | compensating link movement | 2 | 2 | 12-32 frame/s in 1 frame/s increments; 2-50 frame/s in 0.001 frame/s increments with speedbox | 12-32 frame/s in 0.001 frame/s increments with speedbox | 24V DC microprocessor-controlled, Xtal at all speeds | 4 perf; 3 perf available for Mk 2 | Yes |
| Arriflex 535B | seven-link movement | 2 | 2 | 3-60 frame/s in 0.001 frame/s increments; 1 frame/s if phase button held | 3-60 frame/s in 0.001 frame/s increments | 24V DC microprocessor-controlled, Xtal at all speeds | 4 and 3 perf | Yes |
| Arriflex 435 | five-link movement | 2 (3-pin) | 2 | 1-150 frame/s in 0.001 frame/s increments up to 100 frame/s and 0.01 frame/s increments after | 1-150 frame/s in 0.001 frame/s increments up to 100 frame/s and 0.01 frame/s increments after | DC quartz-controlled, Xtal at all speeds | 4 and 3 perf | Yes |
| Arriflex 435ES | five-link movement | 2 (3-pin) | 2 | 1-150 frame/s in 0.001 frame/s increments up to 100 frame/s and 0.01 frame/s increments after | 1-150 frame/s in 0.001 frame/s increments up to 100 frame/s and 0.01 frame/s increments after | DC quartz-controlled, Xtal at all speeds | 4 and 3 perf | Yes |
| Moviecam SL | compensating link movement | 2 | 2 | 12-40 frame/s in 1 frame/s increments; 2-40 frame/s in 0.001 frame/s increments with speedbox | 12-32 frame/s in 0.001 frame/s increments with speedbox (Compact mags only) | 24V DC microprocessor-controlled, Xtal at all speeds | 4 perf | Yes |
| Aaton 35-III | magnetic drive wheels between body and mag | co-planar | No | 3-32 frame/s in 0.001 frame/s increments | No | tri-phase brushless, Xtal at all speeds | 4 and 3 perf | Yes |
| Panaflex Millennium | Mitchell Mitchell Camera Mitchell Camera Corporation was founded in 1919 by Henry Boger and George Alfred Mitchell. Their first camera was designed and patented by John E. Leonard in 1917, from 1920 on known as the Mitchell Standard... -design, cam driven |
2 | 2 | 3-50 frame/s in 0.001 frame/s increments | 3-50 frame/s in 0.001 frame/s increments | dual brushless for shutter and movement, single variable for shutter angle, Xtal all speeds | 4 and 3 perf | Yes |
| Panaflex Millennium XL | Mitchell Mitchell Camera Mitchell Camera Corporation was founded in 1919 by Henry Boger and George Alfred Mitchell. Their first camera was designed and patented by John E. Leonard in 1917, from 1920 on known as the Mitchell Standard... -design, cam driven |
2 | 2 | 3-40 frame/s in 0.001 frame/s increments | No | dual brushless for shutter and movement, single variable for shutter angle, Xtal all speeds | 4 and 3 perf | Yes |
| Arricam LT | five-link movement | 2 | 2 | 1-48 frame/s in 0.001 frame/s increments; speeds with decimal places must be set with accessories | 1-32 frame/s in 0.001 frame/s increments; speeds with decimal places must be set with accessories | dual brushless for shutter and movement, Xtal all speeds | 4, 3, and 2 perf | Yes |
| Arricam ST | five-link movement | 2 | 2 | 1-60 frame/s in 0.001 frame/s increments; speeds with decimal places must be set with accessories | 1-32 frame/s in 0.001 frame/s increments; speeds with decimal places must be set with accessories | dual brushless for shutter and movement, Xtal all speeds | 4, 3, and 2 perf | Yes |
| Arriflex 435 Advanced | five-link movement | 2 (3-pin) | 2 | 0.1-150 frame/s in 0.001 frame/s increments up to 100 frame/s and 0.01 frame/s increments after | 0.1-150 frame/s in 0.001 frame/s increments up to 100 frame/s and 0.01 frame/s increments after | DC quartz-controlled, Xtal at all speeds | 4 and 3 perf | Yes |
| Aaton 35-3P | magnetic drive wheels between body and mag | co-planar | No | 2-40 frame/s in 0.001 frame/s increments | No | triphase brushless, Xtal at all speeds | 4 and 3 perf | Yes |
| Arriflex 235 | five-link movement | 1 (dual-pin) | 1 | 1-75 frame/s in 0.001 frame/s increments | 25 frame/s (can't be used with shoulder mags or older 200' mags) | DC quartz-controlled, Xtal at all speeds | 4, 3, and 2 perf | No |
| Arriflex 435 Xtreme | five-link movement | 2 (3-pin) | 2 | 0.1-150 frame/s in 0.001 frame/s increments up to 100 frame/s and 0.01 frame/s increments after | 0.1-150 frame/s in 0.001 frame/s increments up to 100 frame/s and 0.01 frame/s increments after | DC quartz-controlled, Xtal at all speeds | 4 and 3 perf | Yes |
Viewfinder
| Camera model | Viewfinder | Video assist |
|---|---|---|
| Eyemo 71K | Originally parallax, but reflex conversions frequently use Arri eyepiece accessories. | |
| Arriflex 35-2C | Fixed eyepiece on camera door; 6.5x magnified image. Interchangeable doors for pivoting or anamorphic viewfinders available. A periscope attachment accessory can also be used for odd angles, but will slightly crop the frame in the viewfinder. | |
| Arriflex 35BL-1 | Standard and anamorphic extension tubes; eyepiece rotates 90° above and below level with continuous upright image. | |
| Panaflex-X | Fixed angle and includes integrated anamorphic switch and contrast viewing filters (ND .6 and .9). Short, medium and long eyepieces; all can be heated and have manual iris. Medium and long eyepieces include extra magnifier switch. | |
| Arriflex 35BL-2 | Standard and anamorphic extension tubes; eyepiece rotates 90° above and below level with continuous upright image. | |
| Panaflex Gold II | Rotates 360° vertically with continuously upright image and includes integrated anamorphic switch and contrast viewing filters (ND .6 and .9). Short, medium and long eyepieces; all can be heated and have manual iris. Medium and long eyepieces include extra magnifier switch. | |
| Arriflex 35BL-3 | Standard and anamorphic extension tubes; eyepiece rotates 90° above and below level with continuous upright image. | |
| Arriflex 35-3C | 6.5x magnified image; doors can be changed between fixed eyepiece, 210° rotating eyepiece, and offset eyepiece. | |
| Moviecam SuperAmerica | Spherical and anamorphic short eyepieces, spherical long eyepiece, and long eyepiece with anamorphic switch. Orientable viewfinder block also allows rotation from left to right of and extension away from the camera, but standard viewfinder does not. Both can rotate 360° vertically, offer continuous upright image, and include an integrated contrast viewing filter (ND .6), heated eyepiece, and manual iris. 6.1x magnification, with 2.4x zoom available on long eyepieces. | |
| Arriflex 35BL-4 | Super Wide Angle eyepiece with 6.5x magnification and manual iris. Standard and anamorphic extension tubes, as well as a longer standard tube with switchable contrast viewing filter and 2x zoom; eyepiece rotates 90° above and below level with continuous upright image. Bigger exit pupil for brighter image than older BL models. | |
| Panaflex Platinum | Rotates 360° vertically with continuously upright image and includes integrated anamorphic switch and contrast viewing filters (ND .6 and .9). Short, medium and long eyepieces; all can be heated and have manual iris. Medium and long eyepieces include extra magnifier switch. | |
| Panaflex Panastar II | Rotates 360° vertically with continuously upright image and includes integrated anamorphic switch and contrast viewing filters (ND .6 and .9). Short, medium and long eyepieces; all can be heated and have manual iris. Medium and long eyepieces include extra magnifier switch. | |
| Arriflex 35BL-4s | Super Wide Angle eyepiece with 6.5x magnification and manual iris. Standard and anamorphic extension tubes, as well as a longer standard tube with switchable contrast viewing filter and 2x zoom; eyepiece rotates 90° above and below level with continuous upright image. Bigger exit pupil for brighter image than older BL models. | |
| Arriflex 535 | Spherical and anamorphic viewfinders; can rotate vertically and left to right, with upright image continuously. Switchable contrast viewing filters (ND .3 and .6); medium and long extension tubes, heated eyepiece, and manual iris. | |
| Moviecam Compact | Spherical and anamorphic short eyepieces, spherical long eyepiece, and long eyepiece with anamorphic switch. Orientable viewfinder block also allows rotation from left to right of and extension away from the camera, but standard viewfinder does not. Both can rotate 360° vertically, offer continuous upright image, and include an integrated contrast viewing filter (ND .6), heated eyepiece, and manual iris. 6.1x magnification, with 2.4x zoom available on long eyepieces. | |
| Arriflex 535B | Spherical and anamorphic viewfinders; can rotate vertically and left to right, with upright image continuously. Switchable contrast viewing filters (ND .3 and .6); medium and long extension tubes, heated eyepiece, and manual iris. | |
| Arriflex 435 | Spherical and anamorphic viewfinders; can rotate 360° vertically and 270° left to right, with upright image continuously and can be extended out. Integrated contrast viewing filter (ND .6); medium and long extension tubes, heated eyepiece, and manual iris. | |
| Arriflex 435ES | Spherical and anamorphic viewfinders; can rotate 360° vertically and 270° left to right, with upright image continuously and can be extended out. Integrated contrast viewing filter (ND .6); medium and long extension tubes, heated eyepiece, and manual iris. | |
| Moviecam SL | Spherical and anamorphic short eyepieces, spherical long eyepiece, and long eyepiece with anamorphic switch. Orientable viewfinder block also allows rotation from left to right of and extension away from the camera, but standard viewfinder does not. Both can rotate 360° vertically, offer continuous upright image, and include an integrated contrast viewing filter (ND .6), heated eyepiece, and manual iris. 6.1x magnification, with 2.4x zoom available on long eyepieces. | |
| Aaton 35-III | Short, medium, and long eyepieces, also available in anamorphic; all can rotate 360° and to left or right of camera with upright image continuously and have manual iris. Heated eyepiece integrated into long eyepiece and optional in medium eyepiece. | |
| Panaflex Millennium | Rotates 360° vertically with continuously upright image and includes integrated anamorphic switch and contrast viewing filters (ND .6 and .9). Short, medium and long eyepieces; all can be heated and have manual iris. Medium and long eyepieces include extra magnifier switch. | |
| Panaflex Millennium XL | Rotates 360° vertically with continuously upright image and includes integrated anamorphic switch and contrast viewing filters (ND .6 and .9). Short, medium and long eyepieces; all can be heated and have manual iris. Medium and long eyepieces include extra magnifier switch. | |
| Arricam LT | Can use LT, ST, LT universal, or ST universal viewfinders (universals have anamorphic switch); all can rotate 360° and to left or right of camera with upright image continuously. Integrated contrast viewing filter (ND .6); medium and long extension tubes, heated eyepiece, and manual iris. | |
| Arricam ST | Can use LT, ST, LT universal, or ST universal viewfinders (universals have anamorphic switch); all can rotate 360° and to left or right of camera with upright image continuously. Integrated contrast viewing filter (ND .6); medium and long extension tubes, heated eyepiece, and manual iris. | |
| Arriflex 435 Advanced | Spherical and anamorphic viewfinders; can rotate 360° vertically and 270° left to right, with upright image continuously and can be extended out. Integrated contrast viewing filter (ND .6); medium and long extension tubes, heated eyepiece, and manual iris. | |
| Aaton 35-3P | Short, medium, and long eyepieces, also available in anamorphic; all can rotate 360° and to left or right of camera with upright image continuously and have manual iris. Heated eyepiece integrated into long eyepiece and optional in medium eyepiece. | |
| Arriflex 235 | spherical or universal (with anamorphic switch) viewfinder; arm can telescope further away from camera, rotate 360° on camera axis, and 270° left and right of camera, all with continuous upright image. Optional heated eyecup; medium and long extension tubes, heated eyepiece, and manual iris. | |
| Arriflex 435 Xtreme | Spherical and anamorphic viewfinders; can rotate 360° vertically and 270° left to right, with upright image continuously and can be extended out. Integrated contrast viewing filter (ND .6); medium and long extension tubes, heated eyepiece, and manual iris. | |
16 mm
16 mm film16 mm film
16 mm film refers to a popular, economical gauge of film used for motion pictures and non-theatrical film making. 16 mm refers to the width of the film...
occupies a rather curious position within filmmaking - with a wide range encompassing virtually every field - amateur home movies, student films, experimental films, television work, commercials, music videos, corporate films, industrial research, medical applications, and lower budget features. Its robust image quality in relation to its size allows for a much more versatile, accessible, and affordable usage in many fields where neither 35 mm nor Super 8
Super 8 mm film
Super 8 mm film is a motion picture film format released in 1965 by Eastman Kodak as an improvement of the older "Double" or "Regular" 8 mm home movie format....
would be well-suited. Despite current challenges from the burgeoning digital video market, the consistent improvement of cameras, lenses, and film stocks have enabled the Super 16
16 mm film
16 mm film refers to a popular, economical gauge of film used for motion pictures and non-theatrical film making. 16 mm refers to the width of the film...
format to flourish recently, with many labs reporting increased usage. The modern era of 16 mm cameras is concurrent with that of 35 mm for both the same reasons as 35 mm as well as an additional change: the creation of the Super 16 format by Rune Ericsson in 1971. The format expanded the usable film negative horizontally, which required a larger film gate
Film gate
The film gate is the rectangular opening in the front of a motion picture camera where the film is exposed to light. The film gate can be seen by removing the lens and rotating the shutter out of the way...
and necessitated either specialized conversion of machined parts or purchase of new cameras designed with Super 16 gates. Since the format took more than a decade to slowly standardize, the competition from both high and low end video cameras has decimated the demand for 16 mm cameras for most non-professional usage. Therefore there are relatively few Super 16 cameras, although most are considered professional-grade.
General
- A limited number of cameras prior to this period are listed due to their prevalence in special applications.
Camera model Camera line Manufacturer Introduced Weight MOS/Sync Lens mount 7LTR (Super 16) Aaton LTR Aaton AatonAaton is a motion picture equipment manufacturer, based in Grenoble, France. Aaton was founded by Eclair engineer Jean-Pierre Beauviala, whose efforts have been primarily focused on making quiet, portable motion picture hardware suitable for impromptu field use, as for documentaries...1974 Sync Aaton universal Aaton universalAaton universal is a lens mount developed by the Aaton camera company for use with their 16 mm movie cameras. It is distinguished by its three-pronged flange, which can be oriented in any of three positions and is held in place with a friction locking ring...Panaflex 16 ("The Elaine") Panaflex 16 Panavision PanavisionPanavision is an American motion picture equipment company specializing in cameras and lenses, based in Woodland Hills, California. Formed by Robert Gottschalk as a small partnership to create anamorphic projection lenses during the widescreen boom in the 1950s, Panavision expanded its product...1981 16.6 lb (7.5 kg), with eyepiece Sync PV mount PV mountA PV mount is a lens mount developed by Panavision for use with both 16 mm and 35 mm movie cameras. It is the only mount offered with Panavision cameras and Panavision-designed lenses, and since the company only rents its equipment, this is likely to remain an exclusive arrangement for the time being...54LTR Aaton LTR Aaton AatonAaton is a motion picture equipment manufacturer, based in Grenoble, France. Aaton was founded by Eclair engineer Jean-Pierre Beauviala, whose efforts have been primarily focused on making quiet, portable motion picture hardware suitable for impromptu field use, as for documentaries...1982 Sync Aaton universal Aaton universalAaton universal is a lens mount developed by the Aaton camera company for use with their 16 mm movie cameras. It is distinguished by its three-pronged flange, which can be oriented in any of three positions and is held in place with a friction locking ring...Arriflex 16HSR2 (Super 16) Arriflex 16SR Arriflex 16SRArriflex 16SR is a movie camera product line created by Arri, introduced in 1975. This 16SR camera series is designed for 16 mm filmmaking in Standard 16 format...Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...1982 11.02 lb (5 kg), with empty magazine Sync Arri bayonet Arri bayonetArri bayonet is a lens mount developed by Arri for use with both 16 mm and 35 mm movie camera lenses. Lenses of this type are distinguished by "outer wings" which both control aperture and bayonet alignment, and are placed in the mount while two pressure tabs are simultaneously depressed at the...
(Arri PLArri PLArri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter...
for some later models)Arriflex 16SR2 (Super 16) Arriflex 16SR Arriflex 16SRArriflex 16SR is a movie camera product line created by Arri, introduced in 1975. This 16SR camera series is designed for 16 mm filmmaking in Standard 16 format...Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...1982 11.02 lb (5 kg), with empty magazine Sync Arri bayonet Arri bayonetArri bayonet is a lens mount developed by Arri for use with both 16 mm and 35 mm movie camera lenses. Lenses of this type are distinguished by "outer wings" which both control aperture and bayonet alignment, and are placed in the mount while two pressure tabs are simultaneously depressed at the...
(Arri PLArri PLArri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter...
for some later models)XTR Aaton XTR Aaton AatonAaton is a motion picture equipment manufacturer, based in Grenoble, France. Aaton was founded by Eclair engineer Jean-Pierre Beauviala, whose efforts have been primarily focused on making quiet, portable motion picture hardware suitable for impromptu field use, as for documentaries...1984 Sync Aaton universal Aaton universalAaton universal is a lens mount developed by the Aaton camera company for use with their 16 mm movie cameras. It is distinguished by its three-pronged flange, which can be oriented in any of three positions and is held in place with a friction locking ring...Arriflex 16HSR3 Arriflex 16SR Arriflex 16SRArriflex 16SR is a movie camera product line created by Arri, introduced in 1975. This 16SR camera series is designed for 16 mm filmmaking in Standard 16 format...Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...1992 14.5 lb (6.6 kg) Sync Arri PL Arri PLArri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter...Arriflex 16SR3 Arriflex 16SR Arriflex 16SRArriflex 16SR is a movie camera product line created by Arri, introduced in 1975. This 16SR camera series is designed for 16 mm filmmaking in Standard 16 format...Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...1992 14.5 lb (6.6 kg) Sync Arri PL Arri PLArri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter...X0plus Aaton XTR Aaton AatonAaton is a motion picture equipment manufacturer, based in Grenoble, France. Aaton was founded by Eclair engineer Jean-Pierre Beauviala, whose efforts have been primarily focused on making quiet, portable motion picture hardware suitable for impromptu field use, as for documentaries...1992 Sync Aaton universal Aaton universalAaton universal is a lens mount developed by the Aaton camera company for use with their 16 mm movie cameras. It is distinguished by its three-pronged flange, which can be oriented in any of three positions and is held in place with a friction locking ring...XTRplus Aaton XTR Aaton AatonAaton is a motion picture equipment manufacturer, based in Grenoble, France. Aaton was founded by Eclair engineer Jean-Pierre Beauviala, whose efforts have been primarily focused on making quiet, portable motion picture hardware suitable for impromptu field use, as for documentaries...1992 Sync Aaton universal Aaton universalAaton universal is a lens mount developed by the Aaton camera company for use with their 16 mm movie cameras. It is distinguished by its three-pronged flange, which can be oriented in any of three positions and is held in place with a friction locking ring...XTRprod Aaton XTR Aaton AatonAaton is a motion picture equipment manufacturer, based in Grenoble, France. Aaton was founded by Eclair engineer Jean-Pierre Beauviala, whose efforts have been primarily focused on making quiet, portable motion picture hardware suitable for impromptu field use, as for documentaries...1994 13 lb (5.9 kg), with onboard battery and full magazine Sync Arri PL Arri PLArri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter...
, Aaton universalAaton universalAaton universal is a lens mount developed by the Aaton camera company for use with their 16 mm movie cameras. It is distinguished by its three-pronged flange, which can be oriented in any of three positions and is held in place with a friction locking ring...
, or PV mountPV mountA PV mount is a lens mount developed by Panavision for use with both 16 mm and 35 mm movie cameras. It is the only mount offered with Panavision cameras and Panavision-designed lenses, and since the company only rents its equipment, this is likely to remain an exclusive arrangement for the time being...A-Minima A-Minima A-MinimaThe A-Minima is a Super 16 movie camera that was introduced by Aaton in 1999. Touted as the smallest reflex viewfinder movie camera yet, the camera is distinguished by its extremely low-profile form-factor. It has a size comparable to a small prosumer video camera and a light weight of including...Aaton AatonAaton is a motion picture equipment manufacturer, based in Grenoble, France. Aaton was founded by Eclair engineer Jean-Pierre Beauviala, whose efforts have been primarily focused on making quiet, portable motion picture hardware suitable for impromptu field use, as for documentaries...2000 5 lb (2.3 kg), with onboard battery and full magazine Sync Arri PL Arri PLArri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter...
and NikonArriflex 416 Arriflex 416 Arriflex 416Arriflex 416 is a movie camera product line created by Arri in 2006. This 416 camera series is designed for 16mm filmmaking in the Super16 format. The 416 series has some features that are derived from Arri's other 35mm cameras...Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...2006 12.1 lb (5.5 kg), with full magazine Sync Arri PL Arri PLArri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter...Arriflex 416 Plus Arriflex 416 Arriflex 416Arriflex 416 is a movie camera product line created by Arri in 2006. This 416 camera series is designed for 16mm filmmaking in the Super16 format. The 416 series has some features that are derived from Arri's other 35mm cameras...Arri Arri-History:Arri was founded in Munich, Germany as Arnold & Richter Cine Technik in 1917, named after founders August Arnold and Robert Richter. They produce professional motion picture equipment, digital and film cameras and cinematic lighting equipment...2006 12.6 lb (5.7 kg), with full magazine Sync Arri PL Arri PLArri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter...Xtera Aaton XTR Aaton AatonAaton is a motion picture equipment manufacturer, based in Grenoble, France. Aaton was founded by Eclair engineer Jean-Pierre Beauviala, whose efforts have been primarily focused on making quiet, portable motion picture hardware suitable for impromptu field use, as for documentaries...2006 Sync Arri PL Arri PLArri PL is a lens mount developed by Arri for use with both 16 mm and 35 mm movie cameras. The PL stands for "positive lock". It is the successor mount to the Arri bayonet; however, unlike the bayonet mount, it is incompatible with older Arri-mount lenses, due to the larger diameter...
, Aaton universalAaton universalAaton universal is a lens mount developed by the Aaton camera company for use with their 16 mm movie cameras. It is distinguished by its three-pronged flange, which can be oriented in any of three positions and is held in place with a friction locking ring...
, or PV mountPV mountA PV mount is a lens mount developed by Panavision for use with both 16 mm and 35 mm movie cameras. It is the only mount offered with Panavision cameras and Panavision-designed lenses, and since the company only rents its equipment, this is likely to remain an exclusive arrangement for the time being...